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University of New Orleans Theses and
Dissertations Dissertations and Theses
12-20-2002
Signs Following
Signs Following
James Allan Moye University of New Orleans
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Moye, James Allan, "Signs Following" (2002). University of New Orleans Theses and Dissertations. 2. https://scholarworks.uno.edu/td/2
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A Thesis
Submitted to the Graduate Faculty of the
University of New Orleans
in partial fulfillment of the
requirements for the degree of
Masters of Arts
In
The Department of Drama/Communications
by
James Allan Moye'
B.A. East Carolina University, 1975
LEAH PARSONS, age 35, smartly dressed, behind the wheel, negotiates the car frantically through city traffic. Her passenger, JACOB HAWKE, 33, a bit scruffy, but in a hip way, grips a 35mm Nikon. He winces at an occasional maneuvering decision. Leah slams the car to a quick halt at an upcoming stoplight.
Jacob, looking through his window, spots a homeless woman sleeping on the subway grate. He aims his Nikon, frames her as steam rises through the vent, and snaps the shutter.
JACOB
I could've taken a cab.
Leah glances at him.
LEAH
(sarcastically)
You could learn to drive.
Jacob dismisses this. An old argument. Leah punches the accelerator- they're off again. The car careens around a double-parked taxi. The cabbie gives her the finger- Jacob snaps his Nikon just in time.
LEAH (CONT'D) (continuing)
Sorry.
The phone rings. Jacob rolls his eyes as Leah picks up a headset, puts it in place.
LEAH (CONT'D) (into phone)
Yeah. Hey Janet. I know. I'll be in soon. I have to see Jacob off. No, the bus station. Can you
believe it? I date the only person on the planet who's not a redneck or a migrant worker who still travels Trailways.
LEAH (CONT'D) (still on phone)
Yeah, quirky artist type... (playfully for Jacob's
sake)
...you know, the kind I've always tried to avoid, but always end up with...
(winks at him)
...but you can't beat him in the sack, and the best photographer
Document has ever had. Listen, keep
the wolves at bay. They'll absolutely love the next issue. That's a promise. I'll be in soon.
She pulls the headset down around her neck and reaches down, playfully pulling her skirt a little higher for the camera. Jacob snaps. Leah puckers her lips in a sensuous kiss for the lens. Jacob snaps again.
EXT. BUS STATION - CONTINUOUS
The car pulls to the curb. Jacob gets out, reaching into the back seat for a travel case, a tripod sticking out of one end and a couple of camera bags. Leah circles the car quickly, joining him on the sidewalk, which is alive with street vagrants and panhandlers. One is a street preaching vagabond, complete with megaphone, expounding upon the necessities of a virtuous life.
LEAH
Mind if I don't go inside? These places give me the creeps.
Jacob understands, gives her a kiss. Leah then backs away with a sheepish smile.
LEAH (CONT'D) I bought you a present.
Jacob is bewildered.
JACOB
Leah, what's the big deal? It's just an assignment.
LEAH
CONTINUED:
She reaches out- straightens his collar, brushes his jacket, fixes his unruly long hair.
LEAH (CONT'D)
Listen, I know we've been over this, but I'm a little more invested now.
JACOB
I'm a big boy. I've done all my homework. They'll like the piece.
LEAH
I'm not talking about the magazine. I'm talking me and you...us.
JACOB I'll be fine.
A final adjustment.
LEAH
Sure you will. Anyway, it'll make me feel better if you take this.
She pulls out a brand new cell phone. Jason flinches.
LEAH (CONT'D) (continuing)
I know. You hate the things. Indulge me, please. This once.
Jacob reluctantly gives in, taking the phone.
LEAH (CONT'D) (continuing)
Everything's already programmed. Just hit this button...
(she hits the button, waits a couple of
seconds. The phone in her car rings. She smiles.)
It'll be me.
She gives him a final kiss.
LEAH (CONT'D) I love you.
Leah begins to circle the car. She takes a look at the station, the people going in. Shakes her head.
LEAH (facetiously)
I hope you have to share a seat with a smelly, talkative, fat woman.
He watches as she waves and climbs back in the car, pulling away.
CUT TO:
INT. BUS - MONTAGE
1. Jacob, in the window seat, takes a photograph of the passenger next to him- a corpulent man with a briefcase in his lap, head tilted down, a stream of drool sliding down one of his three chins, snoring loudly.
2. The passenger is now a large lady with thick glasses, holding multiple shopping bags, showing a half-interested Jacob pictures of her family.
3. A Mexican migrant worker sitting beside Jacob argues in Spanish with a defiant Mexican woman in the seat across the aisle.
4. The scenery passing by is green and mountainous. They pass a sign full of bullet holes, announcing Wild and
Wonderful West Virginia. Jacob aims his camera at the sign.
5. Jacob sleeps as the bus enters Panther Falls, West Virginia. On the sign: 1006 Happy People and 3 Old Grumps.
End Montage
CUT TO:
EXT. PANTHER FALLS BUS STATION - DAY
The terminal is a small, shingled structure next to a gas station with a sign, Spencer's Lunch. There's no front door, but two windows opening onto the small lot, one marked Bus
Business, the other, Food Ordering. A few old wooden picnic
tables sit outside near the sidewalk.
CONTINUED:
JACOB
I'd like to buy a ticket to Pleasant Hollow.
SPENCER, dressed in a white apron, looks at Jacob.
SPENCER
What you think a ten letter word for queer might be? Starts with an "O".
JACOB Outlandish.
Spencer nods in agreement and writes it down. He looks back up.
SPENCER
Now, what can I do you for?
JACOB Pleasant Hollow?
SPENCER That's a bus question.
He points to the bus business window, just beside them. Jacob looks at the vacant portal, sighs, picks up his bags and shuffles to the other window.
Spencer removes his apron and hangs it on a hook behind him. Then he grabs a green visor cap from an adjacent hook, places it on his bald head and situates himself on a stool behind the bus business window. As a final touch, he puts on a pair of reading spectacles. He looks over the top of the glasses at Jacob.
SPENCER (CONT'D) Yes sir. How can I help you?
Jacob places his bags down again.
JACOB
I need a bus to Pleasant Hollow.
SPENCER
Ain't no such critter.
Jacob looks around.
SPENCER
Bout thirty-one miles and six tenths as the crow flies, give or take a yard or two.
JACOB
Is there a taxi service?
Spencer is amused.
SPENCER Where you from?
Jacob looks around. There's a MAN WITH A TATTOO sitting on one of the picnic tables, smoking, looking down the highway. The tattoo is crudely drawn, but depicts a furry, slender animal. The word mongoose is scrawled below the picture. As he takes a hit from his cigarette, Jacob notices the man is missing his middle finger at the knuckle.
JACOB
Listen, I just want to get to Pleasant Hollow. How would you suggest I do that?
Spencer looks beyond Jacob. He points toward the service station lot, where a man leans into the back of a station wagon, loading crates into the vehicle.
SPENCER
Tug, over there, lives up that way.
Jacob nods his thanks and heads for the station. A pickup truck pulls up to the curb and the tattooed man climbs in the passenger side, flicking his cigarette aimlessly toward
Jacob. The burning butt rolls near Jacob's foot. Jacob steps on it, extinguishing the flame.
EXT. SERVICE STATION - CONTINUOUS
Jacob approaches the station wagon as the man slams the back door. Tug sees Jacob coming, turns to him.
JACOB
I'm told you might be going to Pleasant Hollow.
CONTINUED:
(MORE)
TUG
Tug Bartlett. Glad to make your acquaintance.
Jacob puts a bag down and shakes Tug's hand.
JACOB
I'd be glad to pay you.
Tug sizes Jacob up and reaches down for the bag, opening the passenger door.
TUG
Well, git on in, son. Can't dance and it's too wet to plow. Might as well git on down the road.
Tug straightens his hood ornament, a chrome naked goddess with wings, as he rounds the wagon.
CUT TO:
EXT. MOUNTAIN HIGHWAY - DUSK
The sun sets on the Appalachians as the car travels a narrow, paved country road.
INT. TUG BARTLETT'S STATION WAGON - CONTINUOUS
Tug negotiates the tight turns, glances at his passenger occasionally.
TUG
What happen? Your car break down?
JACOB Nope.
Jacob's bags are on the seat between them. Tug eyes them, finally breaks the silence.
TUG
You got business in the holler?
JACOB You might say that.
TUG
Like today, I'm delivering some packages from the bus station. You were lucky to catch me, really.
Jacob nods. Much to Tug's consternation, his passenger is not volunteering any information. Tug winks at Jacob,
reaches his arm into the back seat. He manages to flip open the top of a cardboard carton on the back seat and remove a bottle from it, bringing it to the front seat.
He unscrews the bottle-top with his teeth and takes a hit. The liquid makes him shudder. He offers the bottle to Jacob.
TUG (CONT'D)
First rate, A-number-one moonshine likker. Smooth as corn silk. I deliver a little of this too, when the sheriff's asleep.
Jacob sniffs the top of the bottle, then takes a small sip. He grimaces.
TUG (CONT'D)
That'll take the hair off your tongue.
Tug looks down at Jacob's bags again.
TUG (CONT'D) Take pictures do you?
Jacob gives in.
JACOB Yeah.
TUG Sign Followers?
JACOB Pardon?
TUG
Aint' the autumn leaves this time a year. Gotta be Sign Followers. You ain't the first.
Jacob stares out the window, silent.
CONTINUED: (2)
TUG (CONT'D)
You ever been in these parts?
JACOB
Listen. I just wanted a ride.
TUG
Suit yourself. People are a little different around here is all. Set in there ways, you might say.
JACOB
I'll keep that in mind.
TUG
Well, I reckon you can find out for yourself soon enough. It's Sunday.
(he looks at his watch)
They probably be going at it 'bout the time we get there.
(pause)
You never met Oprah, did you?
JACOB Beg your pardon?
TUG
Oprah. From the television. She lives in the city, hear tell.
JACOB
Oh. No. Never met Oprah.
Tug stares through the windshield at the headlights beams. He takes another drink.
TUG I like Oprah.
CUT TO:
EXT. PLEASANT HOLLOW CHURCH OF SIGNS - NIGHT
The station wagon stops in front of a tiny church on the edge of a small community. There are a few cars in the dirt lot and some others parked beside the road. The white cinder block building has no windows, but a strong light comes through the open door, casting an oblong beam into the yard.
Beyond that, on the ascending slope of a mountain, tucked in the edge of the woods, is a single-wide mobile home resting on cement blocks.
Jacob gets out of the car with his baggage. The music coming from the church is an eclectic mix of country gospel, an improvisational cacophony of guitar, organ, and relentless tambourines.
Tug leans toward him, points up the street toward the center of the village. Slightly uphill, not too far down the
street, a neon sign, Ruby's Eats, can be seen in a building window.
TUG
I'm heading up to Ruby's. Best chili melt in the valley. You're welcome to join me if you ain't up to this just yet.
Jacob closes the door, leans to the window.
JACOB Thanks anyway.
He hands Tug some cash. Tug hands Jacob a fresh bottle of moonshine. Jacob tries to give it back. Tug waves him off.
TUG
Complimentary. You might need it.
He puts the car in gear, pulls away.
Jacob turns to the church, crosses the street and puts his bags down. He pulls a cigarette from his pocket, lights it as he looks toward the building.
Between the church and the nearby house, some kids play on an old rusting swing set. One of the older children- a GIRL of about eleven, thick glasses- watches as Jacob pulls a camera from his bag and takes a couple of photographs of the church. He frames the rustic cross in front with wood- burned
letters: Pleasant Hollow Church of Signs Following.
INT. CHURCH OF SIGNS - CONTINUOUS
Jacob slips into the back of the church. The attention of the congregation is on the pulpit area, where a very
CHARISMATIC PREACHER- a wild-eyed man in his late sixties- paces and speaks passionately. He's holding a soft drink bottle filled with kerosene, a small rag stuffed into the neck of the bottle.
PREACHER
Speak to me about faith, Brother Willard!
BROTHER WILLARD is a tall, skinny man standing at the pulpit reading from a King James Bible. His high-pitched monotone contrasts sharply with the preacher, who echoes Willard's recitation with fiery enthusiasm.
WILLARD
"For let him ask in faith.."
PREACHER (shouting)
Faith! Ask in faith!
WILLARD "...nothing wavering."
PREACHER
No wavering! Faith is solid as an oak. Faith is strong as a pit bull! Faith is a concrete foundation!
Jacob finds a metal folding chair against the back wall. The girl sits beside him, silently watching him, seemingly
unperturbed by the growing evangelistic outbursts. Jacob peers over the heads of the congregation of about twenty men and women sitting in makeshift wooden pews and scattered folding chairs. An occasional "Amen" and "Praise Jesus" erupts from the room.
WILLARD
"For he that wavereth is like a wave of..."
PREACHER (joining in)
The preacher takes a lighter from his pocket and lights the rag in the bottle. The flame grows and the black smoke drifts toward the ceiling.
PREACHER (CONT'D)
"A double minded man is unstable in all his ways." That's what it
says, ain't it, Brother Willard?
WILLARD Amen.
PREACHER
That's what it says and that's what it means.
Some members of the congregation are standing now. Some of them bellowing indecipherable phrases. The preacher stands tall holding the burning bottle high in the air.
Behind him there are a few scattered musicians- a pimply teenager with an electric guitar, a sun-withered old woman with a tambourine. Jacob cannot help but be drawn to one particular WOMAN, around thirty, plainly adorned like all the others, but strikingly handsome, perched behind a portable electric keyboard.
PREACHER (CONT'D)
Through faith I defy the wicked! I defy the devil himself! Without faith, a man is worth no more than the clothes on his back. He's a shadow waiting for the sun to go down.
The congregation becomes more animated. The tambourine
reverberates. The preacher passes the flame beneath each of his outstretched arms.
PREACHER (CONT'D) (continuing)
I, for one, will not burn. Brother Willard, read Hebrew, chapter 11.
Willard searches his Bible.
CONTINUED: (2)
WILLARD
"Who through faith subdued
kingdoms, wrought righteousness, obtained promises, stopped the mouths of lions,...
PREACHER (joining Willard)
... and quenched the violence of FIRE!!!
The guitar player launches into a chord, the woman on the keyboard follows suit, eventually finding the melody of a rollicking hymn. The preacher pulls down the bottle, looks across the congregation, challenges them.
PREACHER (CONT'D) (continuing)
Brothers and sisters. Do you have faith?
Many from the congregation leave their seats and gather around the pulpit. Some gyrate wildly to the music, others drop to their knees in tempestuous prayer. Brother Willard backs away from the pulpit as the preacher approaches and lifts a can marked Red Devil Plumber's Lye.
PREACHER (CONT'D) (continuing)
"And they can drink any deadly thing and it shall not harm them." Devil, are you watching?
Jacob takes another picture of the Preacher as he puts the container to his lips and drinks the poisonous liquid. The girl beside Jacob watches curiously as he snaps away.
The music grows in volume and pace. Each church member seems individually captured by the spirit of the proceedings.
Willard drags a wooded crate to the center of the circle being formed by the worshippers and opens the lid. The preacher is the first to approach the box.
PREACHER (CONT'D) Don't fight it! It's the Holy Spirit! Let it fill you up.
Jacob lowers his camera, disturbed by the presence of the reptile.
The snake slithers wildly in response to the preacher's gyrations. It writhes in the air, circling aimlessly, its tongue searching the air. The preacher shakes the snake hard. Suddenly, it grows limp in his hand.
PREACHER (CONT'D) Glory, glory!
He passes the snake to another member of the church, who holds it high.
Jacob backs toward the open door. The preacher, pulling another rattler from the box, catches sight of Jacob as he passes through the threshold.
EXT. CHURCH OF SIGNS - SAME TIME
Jacob sits on the front stoop of the church, trying to
compose himself. The girl follows, sitting beside him. She sees his camera on the steps, reaches out a finger and
touches it.
The MUSIC from inside comes to an ABRUPT HALT.
INT. CHURCH OF SIGNS - CONTINUOUS
The congregation pauses. They look toward the preacher as he struggles to loosen the fangs of the second rattlesnake from the muscle between his thumb and forefinger. He finally frees himself from the serpent.
The preacher, holding the snake in one hand, stares across the room, seemingly unfettered by the attack.
He looks toward the door, then hands the snake to a nearby church member who places the rattler back in the crate. The preacher slowly steps toward the door, pulling out a
handkerchief, his bitten hand now dripping blood. The congregation watches as he leaves the building.
EXT. CHURCH OF SIGNS - CONTINUOUS
The Preacher, holding the handkerchief to his hand, stands above Jacob. Jacob rises, facing the man, who looks deep into Jacob's eyes, fully aware of his own intimidating
CONTINUED:
PREACHER
Strangers are always welcome here.
The preacher puts his hand down.
PREACHER (CONT'D)
I've seen you before. Who might you be?
Jacob hesitates. Looks straight into the preacher's eyes.
JACOB Jacob Hawke.
The preacher is silent for a moment, stone-faced. Then, a broad smile crosses his face.
PREACHER
Well, Jacob Hawke. That's a mighty fine camera you have there. May I see it?
Jacob looks down at the girl and extends his hand. Delighted by the opportunity to handle the camera, she lifts it to him. Jacob hands it directly to the preacher.
Some members of the congregation have come to the door, watching. Others crowd behind.
PREACHER (CONT'D) Mighty fine, indeed.
The preacher holds the camera for a couple of seconds, as if admiring it, then quickly opens the back, exposing the film. The preacher's wounded hand is swelling, his skin growing pallid.
The preacher returns the camera to Jacob, motions for the younger man to follow him back into the church.
INT. CHURCH OF SIGNS - CONTINUOUS
The church members gathered by the door separate, allowing the two to enter. The girl comes in behind them, rushes to woman who had been playing the keyboard. The preacher stands beside Jacob in front of the congregation, puts his good arm around him.
PREACHER
The preacher is growing weak, the venom of the snake taking effect. His words are not as comfortable coming from his mouth.
PREACHER (CONT'D) (continuing)
Jesus has brought my son, Jacob, back to me after all these years.
The news generates murmurs of surprise and some more "Amens" from the assembly.
The preacher turns to Jacob.
PREACHER (CONT'D) (continuing)
Now son. If you'll be so kind as to help me to the house. I'll need to lie down soon.
His knees weaken, and he almost falls, but Willard, standing nearby joins Jacob in supporting the preacher.
Together, they bear the preacher's weight, half-carrying him out the door.
EXT. CHURCH OF SIGNS - CONTINUOUS
The keyboard player and the young girl follow along with a few others as Jacob and Willard lead the preacher across the lot to the nearby house.
INT. HAYDEN HAWKE'S HOUSE - CONTINUOUS
They pass through a simple living room- an old sofa, a well-used recliner, and a small television with rabbit ears. They continue into an adjoining bedroom where they deposit the preacher, still coherent, but distinctly ill, on the bed. Immediately, the bed is surrounded by a few members of the church, dropping to their knees to pray.
Jacob backs away, watching momentarily as his father is
attended by the Sign Followers. One lady removes his shoes, another begins to wash his face with a damp cloth.
WOMAN WITH CLOTH You okay, Hayden?
CONTINUED:
HAYDEN
(to woman with cloth) I'm good.
Hayden closes his eyes.
The keyboard player touches Jacob's arm. Her eyes are
strikingly beautiful and mysteriously penetrating. She takes Jacob by surprise.
WOMAN I'm Minnie. I...
JACOB
We need to call a doctor.
Minnie leads him out of the room.
INT. LIVING ROOM - CONTINUOUS
Jacob immediately looks around the room.
MINNIE What?
JACOB
The phone? We need to..
Minnie is calm, trying to placate.
MINNIE
Hayden doesn't have one.
Jacob, exasperated, heads for the door. Minnie follows.
EXT. HAYDEN HAWKE'S HOUSE - CONTINUOUS
The screen door slams behind them. Jacob looks around nervously.
MINNIE
It wouldn't do any good.
Jacob ignores her, walks down the steps to the yard. He sees the children still playing by the swing set, many of the cars still parked in the church lot. Light still shines from the church door. Music can be heard.
Jacob runs to meet her, takes his bags. Minnie follows and kneels beside the girl as Jacob searches through his things, locating his jacket. He pulls the digital phone from the pocket and fumbles with it for a moment, trying to dial.
MINNIE (CONT'D) Hayden wouldn't want a doctor.
The phone's display: "No service available." Jacob flings the phone into the darkness.
JACOB Shit!
He looks around frantically.
MINNIE (continuing) We just have to wait.
Jacob looks at her, incredulous.
JACOB
Yeah? Well, my mother died in that same bed! You do what you want, I'm going to get a doctor!
Jacob runs toward the nearest parked car. He looks inside. No keys. He goes to another, this one an old pickup. This time he spots a rabbit foot dangling from the key chain in the ignition.
Jacob opens the door and climbs inside. He starts the
engine, overturning the ignition, producing an awful grinding sound. He fumbles with the gear shift, dropping the
automatic transmission into reverse.
The truck lurches backward, slamming immediately into a large tree. Jacob's head jerks back, smashes into the back glass. He falls forward onto the steering wheel.
FADE OUT.
FADE IN:
INT. UNIDENTIFIABLE LOCATION
The space is hazy, not real, a suggestion of a room. A YOUNG BOY, perhaps eight, sits amidst a blaze of exaggerated
CONTINUED:
As our view improves, it becomes clearer that the boy is
riding in a small coin-operated fire truck, mechanical sirens wailing, bells clanging. He is exhilarated, but seriously intent on finding the imaginary fire.
BOY'S POV
A image of silhouettes against large windows backlit by an intense lightning storm. Two female figures lifting coffee cups to their lips, one smoking.
RETURN TO BOY
The boy is focused and intense, staring at the women as he bucks up and down. The sirens mix with the sound of thunder.
BOY'S POV
Between the women's darkened faces a great lightning bolt strikes outside, lighting the women for just a flash, their faces turning toward the boy. The sound of sirens and bells immediately die. The boy's scream takes over.
CUT TO
INT. HAYDEN HAWKE'S HOUSE - NIGHT
Jacob wakes with a jolt, disoriented from the dream. He's on the sofa with an ice-filled towel on the back of his head. Minnie, beside him, moves toward him, calming him with her hand on his shoulder. She turns toward an older man, DR. CASTELLO, sitting in the lounge chair.
MINNIE Doctor.
Dr. Castello moves toward Jacob, checks his vital signs, seems satisfied. Minnie watches from behind.
DR. CASTELLO
You had these people worried, son.
Jacob focuses, looks around the room, trying to remember. He sees the young girl from the church looking over Minnie's shoulder.
MINNIE
Dr. Castello lives just up the road, just outside of town..
The girl smiles, shyly. Jacob shifts his eyes to his father's bedroom. The door is closed. The doctor rises.
DR. CASTELLO (to Minnie)
He's going to be just fine. (to Jacob)
Rest is best for you now.
Jacob lies still, listening. Dr. Castello starts folding up his instruments.
DR. CASTELLO (CONT'D) (to Minnie)
If you'd like me to check on Hayden...
Minnie shakes her head.
MINNIE You know Hayden.
DR. CASTELLO (regrettably)
Yeah. I know Hayden.
Dr. Castello rises and picks up his medical bag. Walks to the door and exits.
Minnie looks at Jacob for a moment.
MINNIE Get some sleep.
Jacob looks toward his father's closed door again.
MINNIE (CONT'D)
Don't worry. He's in good hands.
Jacob closes his eyes.
Minnie goes to Hayden's bedroom door, opening it.
INT. HAYDEN'S BEDROOM - CONTINUOUS
A couple of men and women from the church still kneel beside Hayden, praying. Minnie joins them.
INT. HAYDEN HAWKE'S HOUSE - JACOB'S POV
Slowly coming into focus is a long-legged spider constructing a huge cobweb in the corner of a ceiling. Scanning the wall, there is a picture of a woman (familiar from Jacob's dream) holding a child (the boy in the dream) in her lap, who offers her a daisy. Next to it is a framed cross-stitched pattern with Jacob's name and the words, Our Blessed Son.
Lower, on a night table, is a carved wooden lamp shaped like a cowboy boot, with a silver plaque reading, Jacob Hawke,
Vacation Bible School, 1979. Beside it is a small football
trophy- Punt, Pass & Kick, 1981, ages 10/11.
ON JACOB
Jacob props himself up on his elbows and reaches to pick up the trophy. Looking at it, he smiles.
EXT. PROPERTY - CONTINUOUS
Rebekah exits the trailer and makes a bee line for Hayden's house. As she nears it, she slows, approaches a window. Shading her eyes, trying to block the sun, she peers through the glass.
INT. ROOM - CONTINUOUS
Jacob returns the trophy to the bedside table. He swings his feet over the bed to sit upright. He shifts his attention to a wooden box, the words Jesus is Lord etched in its side.
Suddenly, Jacob recoils, pulling his feet back onto the bed. He retreats to the far wall, keeping his eyes on the box.
Rebekah watches, her face pressed against the window pane, unseen by Jacob. Jacob is shaking.
The door to the room swings open, revealing Hayden, fully dressed, attempting to button his sleeve around his still slightly swollen arm.
HAYDEN Good mor...
INT. HAYDEN'S LIVING ROOM - CONTINUOUS
Jacob spots his bags on the sofa, grabs them in one quick motion, and keeps going. From the other room, he hears..
HAYDEN Jacob! Son!
EXT. HAYDEN HAWKE'S HOUSE - CONTINUOUS
Rebekah rounds the corner as Jacob bursts through the screen door and onto the porch. He looks around to get his
bearings, sees the girl, then starts to the road. He continues up the street toward the middle of town. Hayden comes to the porch, still calling his name.
Hayden holds the wooden crate, the lid open. He turns it upside down.
HAYDEN
Jacob, son. The box is empty.
The words are lost, only heard by Rebekah, as Jacob continues up the street.
EXT. PLEASANT HOLLOW COMMUNITY - CONTINUOUS
Jacob rushes past the houses as he heads toward the center of the small village. He recognizes a couple of people from the church service the night before in different yards. A man mowing his lawn, a lady stooped in her garden who looks up as he passes.
Up ahead, he sees Tug's station wagon parked in front of the two-story building, marked Ruby's. Jacob walks to the door and enters.
INT. RUBY'S - DAY
A bell hanging on the door rings as Jacob steps inside. It's part general store, video rental, and restaurant. There's a grill behind the counter at the far end and a few booths near the window facing the street.
Tug, reading a newspaper and sipping on a cup of coffee, sits in one of the booths, his white suit slightly wrinkled, a negligible shadow on his unshaven face.
CONTINUED:
TUG
You look like a rabbit caught in car lights.
Jacob walks toward him.
JACOB
You going back to Panther Falls?
Tug examines the man before him, takes a sip on his coffee before answering.
TUG It'll cost you.
JACOB Let's go.
TUG
Hold up a minute, son. I ain't going nowhere 'til I had my bacon and eggs. And some grits.
Jacob recognizes the futility of pressing Tug.
TUG (CONT'D)
Take a load off. Ain't nothing can't wait until after Ruby's eggs.
RUBY, a attractive woman in her sixties, emerges from the back room tying an apron around her waste.
RUBY
I thought I heard voices out here.
She stops by a small mirror hanging behind the counter and fusses with her hair a moment before she turns to the two men. She grabs the pot from the coffee maker as she heads their way.
She automatically freshens Tug's cup, her eyes meeting his in a knowing, lascivious glance, not unnoticed by Jacob.
TUG Ruby, this is...
Tug is searching, realizing he doesn't know Jacob's name.
(MORE)
Ruby's face lights up into a big smile. Tug recognizes the connection.
RUBY Well I'll be.
(she takes another good look at his face)
Look at you! All grown up. You've been gone a long time. Hayden must be tickled pink.
Ruby holds the coffee pot in front of Jacob as an offering. He sits, accepts.
TUG
Jacob Hawke! My goodness.
RUBY
I haven't seen you since you were knee-high to a crawdad.
TUG
(to no one in particular) Jacob Hawke.
The cups are full. Jacob takes a sip. Ruby studies his face.
RUBY
One thing for sure, you still got your mama's eyes. She used to bring you in here and talk to me while you rode that old fire truck.
She points to the corner to an dusty old coin-operated fire truck, now a catch-all, old displays and unfinished projects
rest on and around it. A crinkled piece of cardboard with
faded writing announces it as out of order. Jacob looks at
it, transfixed. It is the truck from his recent dream.
RUBY (CONT'D)
You'd stay in that thing all day if she let you. You were in it the last time it worked.
(to Tug)
CONTINUED: (3)
RUBY(CONT'D)
Didn't matter I guess- lightning fried it for good.
(back to Jacob) You remember that, Hon?
Jacob still stares at the fire truck. The bell on the door rings. Hayden Hawke comes in the diner, Rebekah at his heels. He sees Ruby talking to Jacob.
HAYDEN
It's a blessing ain't it Ruby? (he walks to them)
God works in mysterious ways.
Jacob is disturbed by Hayden's presence. He doesn't look up.
HAYDEN (CONT'D)
Get the boy anything he wants. Put it on my tab.
Jacob looks up at Ruby.
JACOB I can pay.
Ruby crosses the room for more coffee. Tug slides over in his seat to make room for Hayden. Hayden motions toward Ruby.
HAYDEN (to Jacob)
She's still a Baptist. But I hain't give up on her yet.
RUBY
Ain't everybody likes to saddle up next to snakes.
HAYDEN Serpents, Ruby.
Hayden hands Rebekah a nickel and the girl runs directly to the gum machine.
RUBY
Snakes, serpents, reptiles,
whatever. It don't appeal to me.
HAYDEN
(MORE)
RUBY
By the looks of that hand, He must've left the room last night.
Hayden shakes his head, giving in. He looks at Jacob as he sits.
HAYDEN
You gotta love that woman.
Jacob watches as Rebekah returns, sits next to him, offers him a gum ball, gets no response. Jacob turns toward the men across from him.
JACOB (to Tug)
Could you give us a minute?
Tug obliges, gets up, brushing by Hayden.
TUG Don't mind me.
(to Rebekah)
C'mon little darling.
Rebekah jumps up, allowing Tug to grab her armpits, lifting her onto his shoulders. They head toward the counter,
joining Ruby. Jacob sits across from Hayden.
JACOB
God didn't send me here, a magazine did. I'm a photographer. A damned good one. I need to know if I'll be able to take pictures in your church. If not, I'm wasting my time.
Hayden considers this, doesn't flinch. Takes a long sip from his cup. Puts it down.
HAYDEN That's why you came?
JACOB That's it.
HAYDEN
So you're a photographer. (pauses)
Well, I'm a preacher. And the way I look at it, that makes me a
CONTINUED: (5)
HAYDEN(CONT'D)
I look after my flock. And you ain't the first to come down here and gawk at us through a lens. Most of 'em think we're a bunch of backwoods freaks. Liken us to a carnival show.
JACOB
You are what you are. I just point the camera at the truth.
Hayden sits back. He looks his son in the eye.
HAYDEN
So you're looking for truth. And you think you can capture it and freeze it onto a picture.
(pauses)
Tell you what. We're hosting a revival next weekend. Signs
Followers coming from three states to praise Jesus. Even Rev. Dewey Thomas is coming from Tennessee. The church won't be big enough. We're going to be building a brush arbor. If you want to take
pictures of these good people, you need to earn their respect.
Jacob nods in a agreement.
JACOB Fair enough.
(pauses)
I'm not staying in that house.
HAYDEN
(lifts his voice, to Ruby) Ruby. You still have that room upstairs?
Ruby, with the others, listening from the counter, perks up.
RUBY Sure do.
Hayden stands. Walks her way.
HAYDEN
Looks like you've got a boarder, a high and mighty city boy
Ruby rings the register open and finds a key in the drawer. She walks over to Jacob's table, puts it in front of him.
RUBY
The room's outside. At the top of the stairs. It's got a bathroom and a telephone. I'd watch what I say on the phone, though. It' a party line, and Vernie Mae Baker has her ear glued to it most the day. Welcome back to Pleasant Holler.
Hayden crosses to the door.
HAYDEN (to Rebekah)
C'mon girl. We've got work to do.
Rebekah obeys. Follows Hayden.
HAYDEN (CONT'D) (to Jacob)
We start tomorrow. Early.
JACOB I'll be there.
Hayden and Rebekah exit. Ruby puts her hand on her hips.
RUBY
Looks like the snake bit twice this time.
CUT TO:
INT. JACOB'S ROOM - DAY
Jacob lies on the bed, smoking. The room is small, but pleasant- a bed, a night table, a chair, a bathroom at one end, one window overlooking the town toward the church. A telephone hangs on the wall beside the window. A hand-written sign beside it reads, NO LONG DISTANCE.
CONTINUED:
Jacob picks up the photograph and looks at it. He rises from the bed and walks to the window, looks out toward the church and his father's house. The town is quiet except for a
mongrel dog lazing in the heat. Jacob grabs his camera bag and walks out.
CUT TO:
EXT. PLEASANT HOLLOW COMMUNITY - DAY
Jacob walks the street down the slope toward the church with his camera, passing the same houses he walked by earlier. The same WOMAN, an white-haired old lady, is on her knees weeding her garden just beyond a picket fence. She looks up when she hears Jacob's shutter snap.
When Jacob gets a good look at her face, he pulls the camera down.
JACOB Mrs. Harrison?
She pauses, trying to get a bead on Jacob.
JACOB (CONT'D) Second grade. Wise County
Elementary. Jacob Hawke. Remember me?
Mrs. Harrison smiles and gets to her feet.
MRS. HARRISON My goodness. Hayden's boy.
(pauses, looks at him)
I remember, you were the quietest thing. Smart as a whip, but always peeing on yourself.
JACOB
I think I've finally conquered that one.
Jacob looks her garden over. Flowers are rampant.
MRS. HARRISON
It's the soil around here. Takes a while to get rid of all the rocks and stones, but then you can't beat it for flowers.
She bends toward the flowers, pulls a pair of scissors out of her apron, and cuts a few, bunches them together. She hands them to Jacob across the fence.
MRS. HARRISON (CONT'D) Daisies always were her favorite.
CUT TO:
EXT. PATH THROUGH WOODS - DAY
A small footpath winds up a hill through the forest. The light streaks in through the trees onto Jacob carrying the flowers. At a split in the trail, he veers right and comes upon a small clearing. There, near a stream, is a old wooden rail fence surrounding a cemetery of mostly unkept graves.
EXT. GRAVEYARD - DAY
Jacob passes through the run-down gate and looks down at the various graves, overgrown with weeds, until he finds a marker that is clean and well-tended, the marker reading Molly
Dunlow Hawke, 1934-1981, In God's Hands. Fresh daisies
already adorn the site. Jacob adds his to the mound.
He pauses to look at the grave, then finds a nearby stone where he sits and lights a cigarette, listening to the stream.
From a distance, the SOUNDS OF LAUGHTER (O.S.) cuts through the trees, followed by A FEMALE VOICE speaking, too far away to be intelligible. This piques Jacob's curiosity. He
follows the sound, which leads him further up the mountain, along the stream.
EXT. MOUNTAIN FOREST - CONTINUOUS
The terrain is tricky, and Jacob has to negotiate big stones and underbrush filled with thorns. The sounds die away, and he decides to head back to the footpath.
Near the trail, Jacob sees a deer grazing in the woods. He points his camera, prepares to snap the shutter when the
laughter once again penetrates the forest. The deer, spooked by the sound, raises his head, then darts off.
Jacob again heads for the sounds. Pushing his way through some branches, he stops short when he spots Minnie and Rebekah near a small pond created by the mountain stream. Rebekah plays on the bank, seemingly searching for something. She carries a burlap sack and a long wooden stick with a
CONTINUED:
Minnie, barefooted, wearing a plain long sundress, stands next to the stream. Jacob lifts his camera. Suddenly, in one motion, Minnie lifts her dress over her head and steps into the stream. Enchanted by the sight, Jacob snaps a series of pictures as the woman drops her dress to the side of the pond and slips naked into the water.
Watching through the lens, Jacob is taken with the woman's beauty as she lies back in the stream, allowing the current to flow over her. Rebekah climbs the rocks across the way, rhythmically tapping the wooden stick on the stones.
Jacob adjust his position, hoping to find a better vantage point. His foot finds a loose stone, causing him to slip.
Protecting the camera, he slides in a sitting position a few feet down the hill. The noise attracts the couple below.
Obviously embarrassed, Jacob starts to get up, searching for an explanation to his voyeurism. A RATTLING (O.S.) noise is heard.
JACOB
Hello, I..uh..well...
Minnie interrupts.
MINNIE (shouting)
No! Stop. Stay perfectly still!
She turns to Rebekah.
MINNIE (CONT'D) (to Rebekah)
Do you see it?
Rebekah nods.
Jacob is confused. He watches as Minnie walks unabashedly out of the stream. She keeps her eyes on the hill as she picks up her dress and slides back into it. She holds out her hand toward Rebekah, who has come down the other side to join her. Rebekah hands her the pole.
They both start to climb the hill toward Jacob, proceeding with caution.
MINNIE (CONT'D) (to Jacob)
Be quiet! You'll scare it away.
Jacob watches as the mother and child approach the snake. He carefully lifts his camera again. Minnie stops a few feet from the reptile and slowly extends the pole, leading with the metal hook.
Jacob momentarily freezes in fear when the snake, sensing the pole, coils to strike. When it does strike, Minnie expertly catches it in the loop and maneuvers the pole, bringing the snake near. She grabs the animal just behind the head, holding it at bay while Rebekah approaches with the sack.
Minnie smiles, lifts the snake high in the air. It is as long as she is tall.
MINNIE (CONT'D) That's a good one.
CUT TO:
EXT. MOUNTAIN LANE - DUSK
Jacob walks beside Minnie, her dress wet and somewhat
revealing, as they descend the mountain lane. Rebekah trails along behind, dragging the sack now holding the captured
snake. Rebekah has Jacob's camera around her neck, lifting it occasionally and looking through the viewfinder.
Jacob looks back at the girl, who lags behind.
JACOB (to Minnie)
She doesn't talk much?
MINNIE
She was in a car accident with her father when she was five. Spent three weeks in a coma. The doctors said she might not recover. Hayden arrived one day and went in
Rebekah's room. He came out with her walking beside him, holding his hand. It was like she'd taken a long nap. But she wouldn't talk. Hasn't since.
(pauses)
CONTINUED:
Jacob looks back at the girl.
JACOB Where's her father?
MINNIE Away.
EXT. PLEASANT HOLLOW COMMUNITY - CONTINUOUS
Jacob and the girls step from the wooded lane into the clearing near the church, it's door open.
MINNIE
He's in there. Praying.
Jacob looks at the dim light coming from the door of the church.
MINNIE (CONT'D)
He's a good man. He has his ways. Be patient with him.
Rebekah hands her mother the snake bag. Jacob takes a couple of steps back during the exchange. Minnie notices. She
takes the camera from around Rebekah's neck.
They watch as Rebekah runs down to the swing set. Minnie holds the camera.
MINNIE (CONT'D)
This magazine you work for, ...
JACOB Document.
MINNIE
What makes them interested in Signs Following?
JACOB
You've got to admit it's a bit intriguing, handling snakes, fire, speaking in tongues...
MINNIE What do you think?
JACOB
She hands the camera back to Jacob.
JACOB (CONT'D) What do you do?
MINNIE
Mostly, I look after Hayden. Clean, cook sometime, do his
laundry. Help him with the church. (pauses)
You're going to help with the arbor, I hear.
JACOB News travels fast.
MINNIE It's a small town.
She walks toward Rebekah. Jacob cannot help but admire her figure as she leaves.
JACOB Good night.
She doesn't turn to him, but lifts her hand in a backwards wave.
Jacob heads for the street. He sees Minnie go to Rebekah, sit in one of the swings.
CUT TO:
EXT. PLEASANT HOLLOW CHURCH OF SIGNS - MORNING
In a small wooded area next to the church, families gather. Some men carry saws and various carpentry tools. A few of them are walking from nearby houses, some pulling up in automobiles.
Jacob approaches from the diner, carrying a camera bag, balancing a cup of coffee.
CONTINUED:
HAYDEN
Lord, bless this gathering as we undertake this worthy task...
As Hayden prays, Jacob tries to situate himself just behind the gathering, sitting his bags down, spills his hot coffee on his lap.
JACOB Oh, shit!
The people praying turn as he jumps up. Minnie giggles. Hayden, eyes still closed, knows who it is. He doesn't look up.
HAYDEN
(continuing prayer)
...in the name of your son and our saviour, Jesus Christ. Amen.
"Amen" echoes among the people.
Hayden looks up, catches sight of Jacob holding on to the crotch of his pants, keeping the liquid from his skin. Minnie passes by Jacob as the crowd breaks from the prayer, going to their various duties.
MINNIE Nice form.
MONTAGE DEPICTING THE MORNING'S LABORS
1. Four trees are selected to serve as corner posts. Jacob watches as they begin sawing them down. He joins one of the men, helping at one of the posts.
2. Minnie joins some other women clearing the underbrush.
3. Rebekah and other children sit at picnic tables, making signs announcing the revival.
4. Jacob drags branches from the felled tree. He pauses, sweat on his brow. He's unaccustomed to the work, holds his back in discomfort. He sees Hayden across the way, working diligently. When his father returns his gaze, Jacob
continues his work.
6. Hayden saws branches from the fallen trees. He seems relentless in his dedication to the work.
7. Hayden is having trouble lifting a log into place for one of the bracings. Jacob walks up behind and helps.
END MONTAGE
EXT. ARBOR LOT - DAY
One woman rings a triangular bell to signal lunch. The men, working in various parts of the lot, put down their tools.
The women bring a potpourri of home cooking to tables that have been set up at the perimeter of the lot. The working men stand in line to accept the bounty. They scatter
individually to various places in the shade to eat their food.
The men gather their in the shade. Jacob puts his head below one of the coolers, allowing the water to splash onto his neck.
Hayden nearly runs into Jacob. They stand for a moment in front of one another. Hayden then steps by him and walks toward the church.
Jacob sits on a stump with his dish. Rebekah joins him, sitting on the ground nearby. He notices that she's looking at his camera bag as she eats.
Jacob puts down his iced tea and opens his bag, pulling out the camera. He aims it at Rebekah. She puts her hand in front of her face.
Jacob aims his camera at one of the men sitting on another nearby stump, dipping his fingers into a bag of chewing tobacco. The man puts the wad of tobacco in his cheek and sees Jacob pointing the camera at him.
He holds the tobacco pack out, offering some to Jacob. Jacob shakes his head.
Jacob sees A WOMAN WITH A LARGE GLASS JAR making rounds, stopping to let others reach in and take a sample. She gets to Jacob and tilts the jar his way. Jacob is wary, what he sees through the glass is not appealing.
CONTINUED:
WOMAN WITH JAR
Pig's feet. There's some tongues in there too if you reach deep enough.
Minnie walks up as Jacob hold his hand up to refuse the offer.
JACOB I'll pass.
WOMAN WITH JAR
Don't get'em like this where you come from, I 'magine. Chester killed Jeff Davis jest yesterday.
JACOB Jeff Davis?
MINNIE (interrupting)
Their hogs. They name 'em after Civil War Generals.
WOMAN WITH JAR
Union Generals. Makes it easier for Chester to kill 'em.
MINNIE (explaining)
They slaughter them alphabetically. You should be honored- Jefferson Davis was a celebrity. Last week it was...
WOMAN WITH JAR
...Henry Eugene Davies. Nobody knows much about him, but it was a good pig.
JACOB I believe I'll pass.
The woman offers one to Minnie, who eyes Jacob while accepting.
MINNIE
(to Jacob, teasing)
Come on, city boy. Don't you want to experience a little local color?
She brings the pig's foot to her mouth and takes a small bite, tearing the meat from the bone. Rebekah, nearby, grimaces at the sight.
The challenge garners the attention of other workers. Jacob feels the pressure, plus he's somewhat amused and affected by the sight of Minnie with a little juice running down the
crook of her lips. He can tell that she's only playing with him good naturedly.
WOMAN WITH JAR (to Jacob)
Here, I'll git you a tongue.
The woman pulls out a pickled pink tongue and hands it to Jacob. Jacob, precariously holding the morsel, spots Hayden eyeing the proceedings from across the yard.
MINNIE (to Jacob)
Now how can you knock it, if you don't try it? I bet you eat sushi.
WOMAN WITH JAR What's that?
Jacob stares Minnie in the eye, opens wide and stuffs the entire pig tongue in his mouth. He slowly chews, his jaws pregnant with food, juice running from his lips.
Minnie's watches in disgust as Jacob makes a display of his dining, licking his lips, bringing his finger to his chin to return some of the escaping fluid to his mouth. He swallows, purses his lips, kissing the air.
JACOB
Now, that was good tongue.
He sees the MAN CHEWING TOBACCO staring at him, nauseated by the display.
JACOB (CONT'D) (to the man)
Aren't you going to have one?
MAN CHEWING TOBACCO Yech!.
CONTINUED: (3)
MINNIE
I never have been too fond of 'em myself.
Another WOMAN WITH A PITCHER of liquid approaches.
WOMAN WITH PITCHER What y'all need is some good ol' ice tea.
CUT TO:
EXT. ARBOR LOT - LATER
The arbor is taking shape. Jacob seems to be enjoying
himself more now, growing comfortable with the people around him. The trees inside the square created by the corner posts have been cleared and smaller post have been nailed across the top.
Rebekah shadows Jacob as he takes liberty to take a few
photos of the workers, some who pause to pose for him in good nature.
Jacob turns to the girl. He takes another camera from his bag. This one is a Polaroid Instant camera. He aims it at her and snaps the shutter just as she sticks her tongue out at him. The film ejects automatically from the back of the camera. Rebekah watches intently.
Jacob bends down next to her, showing her the camera, as the picture forms.
JACOB
This is the shutter. When you press this button, you capture light onto a very sensitive film inside the camera, reproducing the image in front of you. That's how pictures are made.
He holds the developing image in front of the girl as Minnie walks up from behind. Rebekah watches her face form in the photograph, her tongue caught at its peak extension.
Rebekah is delighted. To further her joy, Jacob hands her the camera.
She holds the camera gingerly, with wonder. Jacob adjusts it in her hands, showing her how to hold it.
JACOB (CONT'D) Like this. Look through here.
Rebekah is very attentive.
JACOB (CONT'D) You try it.
Rebekah aims the camera at her mother, snaps the shutter. She is delighted when she hears the click and the picture zip from the camera. She waits for the image.
Jacob then motions for her to walk around and take pictures.
JACOB (CONT'D)
You have eight more pictures on that roll. Get some good shots, okay?
She can hardly believe her fortune.
MINNIE She likes you.
They watch as Rebekah wanders the grounds proudly with her camera.
MINNIE (CONT'D)
There's a carnival in Panther Falls tomorrow? Everybody'll be there. I know Rebekah would love to have you go with us, if you'd like.
They are still watching Rebekah as she points her camera at workers placing brush from the forest on top of the wooden post, creating a temporary ceiling. She snaps shots of two men, obviously twins, as they hammer together a rustic
pulpit.
MINNIE (CONT'D)
That's Millard and Willard Lewis. You hardly see one without the other.
CONTINUED: (2)
MINNIE (CONT'D)
Those two are sisters. They're married to Millard and Willard. What's even stranger is that they live beside each other in those two houses.
Minnie points slightly up the hill. Jacob looks up to see two small houses, almost duplicates, identical picket fences around perfectly manicured lawns.
As they look, something in view changes Minnie's demeanor. Concern crosses her face. She quickly excuses herself and Jacob watches as she hurries toward Rebekah, ushering the girl briskly across the lot and to their trailer. Minnie takes one last look over her shoulder before disappearing through the door.
Jacob looks back up the hill, sees a man riding in a pickup truck, his tattooed arm hanging from the window with a
cigarette. His middle finger is missing. It's the man from the station with the Mongoose tattoo.
Hayden, carrying some tree limbs to add to the brush pile, walks by, looks up to see what Jacob sees.
HAYDEN Well, I'll be.
JACOB Who is it?
HAYDEN Trouble.
The pickup starts and the truck rolls slowly past the lot.
CUT TO:
INT. JACOB'S ROOM - NIGHT
Jacob's bags are open and emptied on the floor. The bathroom door is closed.
INT. BATHROOM - CONTINUOUS
On the line, drying, are pictures- Leah in the car
seductively showing her leg, bum on the street, cab driver giving them the finger, people on the bus, Rebekah with the snake bag at the creek.
Jacob is busy at the wash basin, developing. He watches as an image of Minnie poised naked beside the stream appears. He takes it from the pan and hangs it beside a couple of others of her in the stream and those of her capturing the snake, her body showing sensuously through the wet dress.
Jacob pauses to admire these shots, the beauty of this simple, strong woman with such striking eyes.
EXT. JACOB'S ROOM - NIGHT
Jacob steps outside, lights a cigarette at the top of the steps. The streets are quiet. Blue lights of televisions radiate from a couple of houses down the way.
He looks toward the church lot toward a dying bonfire, the remnants of a burning pile of underbrush. There's a light on in the church- Hayden praying.
Jacob is attracted by movement in a window from Minnie's trailer just beyond. He watches for a second, then
disappears into his room, returning with his camera and a telephoto lens.
He props the long lens on the stair rail and bends toward the viewfinder. Through the lens he locates the window again.
Minnie is at Rebekah's bedside, putting away a book, giving her a good night kiss. She puts out the light and walks out of sight. Jacob picks her up again in another window,
tracking her motion. She stops for a moment in front of a mirror on the wall, pulls a pin out of her long hair, letting it fall down her back.
Jacob loses sight of her again, pulls his lens down, looking around, slightly embarrassed once again by his voyeurism.
A light comes on outside the trailer and Minnie steps out onto her stoop. Jacob reaches inside his door to hit the light switch, eliminating any chance for him to be seen.
CONTINUED:
Tug crawls from the car, then leans back in, grabbing a bottle of moonshine from a passenger inside. Tug turns it up. The music dies.
TUG
(to passenger) Just wait for me.
Tug comes around the corner, just below Jacob, humming the tune from the car radio. He stops at Ruby's back door and knocks.
TUG (CONT'D) (drunkenly)
Ruby.
(pause) Hey Ruby.
A light comes on and Ruby shows up in the doorway, standing behind the screen in her robe. Tug pulls on the door, but it's hooked from inside.
TUG (CONT'D)
C'mon Ruby. I'll make you feel good.
RUBY
I felt just fine before you woke me up.
TUG Oh Ruby.
RUBY
Hush up or you'll wake up the neighborhood. You know I don't like it when you're drunk. Now get out of here.
Tug accepts the futility of the situation. He walks to his car and opens the door. This time Jacob recognizes the tattoo on his passenger's arm. As the car pulls away, the passenger looks up and sees Jacob on the steps.
Jacob looks back across the town. The light in the church is off. There is now a light on in Hayden's front room. No sign of life anywhere else.
EXT. PANTHER FALLS - MORNING
The carnival covers a large open lot beside the Panther Falls Fire Department. A ferris wheel hovers above the other
typical rides. The small midway hosts a few tents and games, with good natured barkers, encouraging passersby to spend their money.
EXT. CARNIVAL PARKING LOT - CONTINUOUS
The Jeep raises a bit of dust as Minnie locates a parking spot in the dirt lot.
As they get out, Jacob offers to help Ruby carry a large
covered dish pulled from the back of the jeep. Rebekah steps out, the Polaroid camera still around her neck. She takes a picture of Ruby.
RUBY (joking)
I swanee girl, you didn't give me a chance to fix my hair.
Rebekah holds the camera as the picture zips out the back.
They head for the entrance.
EXT. CARNIVAL GROUNDS- CONTINUOUS
As they walk through the gates, and across the small midway, Rebekah is fascinated by the carnival's displays. A clown, selling helium balloons, approaches them, holding a bright red balloon out for the girl to take. Rebekah shies away. Jacob takes it from the clown, pays for it, and offers it to Rebekah.
Rebekah looks at her mother, who nods her consent, then she accepts graciously. As they walk, Rebekah eyes some kids bouncing on a giant Moon Walk trampoline, having fun. Minnie notices Rebekah's interest.
MINNIE
Go ahead if you want. It's okay.
Minnie gives Rebekah a dollar, attaches the balloon to the girl's wrist. The girl starts to run off.
CONTINUED:
Rebekah stops, reluctantly takes the strap from her neck and hands the Polaroid to Minnie before running off toward the ticket booth, nearly running headlong into Tug as he cheerily approaches.
TUG (to Rebekah)
Hold your horses there, Annie Oakley.
She nods to him apologetically, and continues her dash. Tug walks up to the rest of them, takes off his hat to Ruby, takes a big whiff of the air.
TUG (CONT'D)
That's got to be that A number one award winning chili.
He focuses in on the dish Ruby' arms.
MINNIE
(explaining to Jacob)
Best chili you ever tasted. We're with the reigning Chili Queen of Wise County. Eight years running, right Ruby.
RUBY
Nine. But who's countin'?
Ruby perks up as Tug takes the chili from Jacob, holds out his elbow to Ruby.
TUG
May I accompany you to the food tent, my dear?
Ruby hesitates for a second, but it's obvious she's glad to see Tug.
MINNIE (to Ruby)
We'll catch you later.
With a tip of his hat, Tug chivalrously escorts Ruby away, bowing goodbye to Minnie and Jacob.
MINNIE (CONT'D) (to Jacob)
I've never seen her so taken with a thing.
JACOB What?
She indicates the camera.
MINNIE
She slept with it last night. Almost took her bath with it.
JACOB She's got the bug.
MINNIE Thank you.
(pause)
You know, you're different with her.
JACOB What do you mean?
MINNIE
Most people talk to kids like they don't know anything. You look
right in her eyes, treat her like a person. She likes that.
They watch as Rebekah stands in line.
JACOB
She reminds me of someone I once knew.
MINNIE
How old were you when you left Pleasant Hollow?
Jacob pulls a cigarette from his shirt pocket. Lights up. Stares off into the distance.
MINNIE (CONT'D)
I don't mean to pry, I was just...
Jacob looks toward Rebekah. She waves.
JACOB
CONTINUED: (3)
(MORE)
He sees Hayden in the distance, strolling through the fairgrounds, greeting people, shaking hands, handing them announcements of the revival.
MINNIE (pleasantly) Rebekah's age.
She sees Hayden too.
MINNIE (CONT'D) He's always at it.
In another direction, they spot Millard and Willard Lewis and their wives at a milk bottle concession. Willard throws with point blank accuracy at the bottles, an action obviously wearing thin on the CARNIE operating the booth.
Millard sees them, waves. The twins' wives are laden with more stuffed animals than they can carry. Jacob lifts his camera and the Lewis families gather in pose for him, big smiles.
Millard then turns to the frustrated Carnie, offering payment for the next round.
WILLARD
(hollering to Minnie and Jacob)
We gonna wipe this place out.
Minnie and Jacob return their attention to Rebekah, who is busy trying to achieve the perfect somersault, balloon still attached to her wrist.
MINNIE
So. Did you or didn't you?
JACOB What?
MINNIE
Did you take pictures at the stream the other day?
JACOB
I'm not sure what you're talking about.
MINNIE
Did you take pictures of me while I was naked as a jaybird or not?
JACOB (playfully)
Naked as a jay bird?
Minnie nods.
Jacob considers the person in front of him. Different now in some way. Suddenly coy.
JACOB (CONT'D) Absolutely not.
MINNIE Thanks.
Minnie and Jacob turn back toward Rebekah, who rushes toward them, shoes untied, out of breath from tumbling. Minnie bends to tie her shoes. Rebekah takes the Polaroid, returns it to her neck.
Rebekah taps her mother on the shoulder, excitedly, producing a whole line of little red ride tickets, which spring out like an accordion file from her hand, reaching nearly to her knees.
MINNIE (CONT'D) Where on Earth?
Rebekah points to a man, RAY, approaching with a large cone of cotton candy. Jacob recognizes him when he sees the mongoose tattoo.
RAY From me.
Minnie stands, obviously perturbed at his presence. She
looks first at Jacob, then at Ray, who holds the cotton candy out to Rebekah.
Rebekah, reading her mother's body language, doesn't take it. Ray looks at Jacob. An awkward moment.
MINNIE
What are you doing here, Ray?
RAY
CONTINUED: (5)
MINNIE To what?
RAY
Minnie, it's been a long time. I wanted to see her. She don't even remember me.
Minnie looks down at Rebekah. She puts her arm around the girl's shoulders, pulls her close.
MINNIE
You've seen her. Now you can go!
Minnie gives the balloon back to Rebekah and takes the tickets from her hand. She gives them back to Ray, still holding the huge cloud of cotton candy. He finally
acknowledges Jacob.
RAY Who's this?
Jacob starts to introduce himself. Minnie interrupts.
MINNIE
It doesn't matter who he is, Ray. When did you get out?
RAY
A few days ago. They s'posed to sent you a letter.
MINNIE We moved.
RAY
Hayden Hawke got his hooks in you, I see. You joined the church, didn't you?
Minnie looks down at Rebekah, who stares at the ground, trying to avoid them.
MINNIE (to Ray)
This ain't the time.
Jacob also looks at Rebekah, worried about her.
(MORE)
Ray ignores Jacob.
RAY
(to Minnie, loudly)
It ain't right, Minnie. She's mine too. Ain't nothing the law can do about that.
JACOB
Maybe you should calm down.
Ray tenses up, gets tired of holding the cotton candy, throws it on the ground.
Rebekah watches as a passing dog runs to it, starts licking the sugar.
RAY
And maybe you should mind your own business, since it don't matter who you are.
Ray takes a step toward Jacob, who, obviously out of his element, awkwardly braces himself for conflict. Minnie reaches out, grabbing Ray's arm.
MINNIE Ray. Stop it!
Ray pulls angrily away from her grasp. Rebekah loses hold of her balloon. They all watch it for a moment as it drifts
above their heads and catches in the wind.
Ray backs off, curbing his anger for the girl's sake. Jacob clumsily holds his guard. Rebekah keeps watching the
balloon, her eyes growing sadder.
A voice comes from behind them.
VOICE (O.S.) It's a beautiful day for a carnival, don't you think?
The voice belongs to Hayden Hawke, standing tall, his hand full of revival announcements. With him is Millard and Willard and a couple of other men from the church. Hayden smiles, completely at ease.
HAYDEN (CONT'D) (to Rebekah)
CONTINUED: (7)
HAYDEN(CONT'D)
I've been looking all over for you. I need some help handing out these fliers.
Rebekah, relieved at the intervention, crosses over to Hayden. She takes a handful of the papers. Ray watches closely, showing disdain for Hayden.
HAYDEN (CONT'D) (to Ray)
Why, Ray. It's been a long time.
Hayden puts his hands on Rebekah's shoulder. Ray watches carefully.
RAY
I got nothing to say to you. (to Rebekah)
I'll come see you another time, okay?
Rebekah, trying to avoid the tension, looks toward the sky, catches a final glimpse of her balloon. Frustrated, Ray walks away, heads toward the carnival gates.
Hayden turns toward Minnie and Jacob.
HAYDEN
Like I was saying, it's a beautiful day for a carnival. You people enjoy yourselves, you hear?
Minnie, looking at her daughter, stoically tries to rebound from Ray's visit. She bends down to the girl, brushes the hair from her face.
MINNIE
We plan to, don't we little lady?
Rebekah, holding the camera, manages a nod. She spies the dog, finishing up the candy on the ground. She aims the camera and snaps the shutter.
JACOB
I'll buy some tickets.
CUT TO:
EXT. MINNIE'S HOUSE - NIGHT
Minnie's arms are filled with a menagerie of stuffed animals, one a huge green snake with a goofy red smile and large eyes. She opens the door and they pass inside.
INT. MINNIE'S HOUSE - CONTINUOUS
Minnie points the way through the narrow trailer to Rebekah's bedroom.
INT. REBEKAH'S BEDROOM - CONTINUOUS
Jacob puts the girl on the bed, starts to take the camera from her neck and the girl wakes momentarily, grabbing the Polaroid tightly despite her lethargic state.
Minnie places the animals on the bed, takes Rebekah's shoes off. Jacob leaves the camera in place.
They step back, admiring the girl in her slumber.
MINNIE
I had a good time today. I'm glad you came.
JACOB Me too.
MINNIE
She did too, despite it all. (pause)
Sorry 'bout all that stuff with Ray.
JACOB Forget it.
Minnie turns off the light and they step out.
INT. TRAILER LIVING ROOM - CONTINUOUS
It's a single wide, the kitchen separated from the living area by a row of tacky knickknack shelves. Minnie flops onto the sofa and catches Jacob staring at her. Suddenly, she breaks into an unexpected laugh.
JACOB What?
MINNIE
You. In that bumper car.
CONTINUED:
MINNIE (CONT'D)
What is it with you and cars?
JACOB
I never learned to drive. In the city I never had to.
MINNIE (still laughing)
You were going the wrong way.
Minnie settles down. Her incredible eyes focus on Jacob. He's stricken with her simple beauty.
JACOB
I should head up the hill.
Minnie sits up quickly. A mischievous look on her face.
MINNIE
I've got a better idea.
She crosses into the kitchen and opens the refrigerator, producing a couple of tall cans of beer.
JACOB
Well, well. You Sign Followers are full of surprises.
MINNIE
We have our moments. C'mon.
EXT. MINNIE'S TRAILER - NIGHT
Minnie sits in one of the swings, swaying gently, sipping on her beer. She puts her head back, looking at the stars.
MINNIE
It's beautiful out here.
Jacob takes a cigarette from his pocket, lights it, sits in the swing beside her.
MINNIE (CONT'D) Got another one?
Jacob looks at her, a bit surprised, but pulls another from the pack.
